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Sovereign Fantasies
THE MIDDLE AGES SERIES
Ruth Mazo Karras, Series Editor
Edward Peters, Founding Editor
A complete list of books in the series
is available from the publisher.
Sovereign Fantasies
ARTHURIAN ROMANCE AND
THE MAKING OF BRITAIN
Patricia Clare Ingham
UNIVERSITY OF PENNSYLVANIA PRESS • Philadelphia
Copyright © 2001 University of Pennsylvania Press
All rights reserved
Printed on acid-free paper
10 9 8 7 6 5 4 3 2 1
Published by
University of Pennsylvania Press
Philadelphia, Pennsylvania 19104
Library of Congress Cataloging-in-Publication Data
Ingham, Patricia.
Sovereign fantasies : Arthurian romance and the making of Britain / Patricia Clare Ingham.
p. cm. — (Middle Ages series)
Includes bibliographical references (p. ) and index.
ISBN 0-8122-3600-9 (cloth : alk. paper)
1. English literature—Middle English, 1100–1500—History and criticism. 2. Arthurian romances—History and criticism. 3. Literature and history—Great Britain—History—To 1500. 4. Historical fiction, English—History and criticism. 5. National characteristics, British, in literature. 6. Romances, English—History and criticism. 7. Kings and rulers in literature. 8. Britons in literature. I. Title. II. Series.
PR328 .I54 2001
| 809'.93351—dc21 | 00-066966 |
In memory of my parents
Dolores Gormley Ingham and Charles Grant Ingham
And for
Louise Aranye Fradenburg
Contents
1 Arthurian Imagination and the “Makyng” of History
2 Arthurian Futurism and British Destiny
3 Disavowing Romance: Colonial Loss and Stories of the Past
5 Dangerous Liaisons: Disloyalty, Adultery, and the Tragedy of Romance
6 Military Intimacies: The Pleasures and Pains of Conquest
7 “Necessary” Losses: Royal Death and English Remembrance
Introduction
A HISTORY without the imagination,” wrote Jacques Le Goff, “is a mutilated, disembodied history” (5). Imagination, Le Goff implies, has the power to repair historical fragments, turning mutilated details into a coherent whole. Le Goff’s striking image of a “disembodied” history without imagination links materiality with the imaginative faculty. History’s special claim to the material and embodied comes not merely from facts about the past, but from what an imagination does with those facts. Le Goff thus rearranges what has been until recently the standard opposition between history (the Real, the material, and the embodied) and fiction (the imagined, the literary, and the textual). Our histories need imagination, Le Goff and many medievalists since insist, at least in part because, as Gabrielle Spiegel has suggested, “imaginary dreams” have the power to “motivate human behavior” (86). Such work has helped us see that fantasy and history have had a long acquaintance, and not simply because medieval writers about the past cared less for verisimilitude than did their modern or early modern counterparts. Indeed, as the 1839 text of the Middle English version of the Travels of Sir John Mandeville suggests, the imaginative faculty can assist in the very real process of creating empires. Imperial governments use, as that text puts it, “[a]lle here lust and alle here Ymaginacioun … for to putten alle Londes undre hire subjeccioun” [all their desire and all their imagination so as to put all lands under their control] (251).1
Le Goff emphasizes the unifying and synthetic power of the imagination; imagination, in this view, repairs mutilation, places pieces together, crafts wholeness out of parts. The remarks attributed to “Mandeville,” in contrast, emphasize the role of the imagination in processes of conquest, annexation, and subjugation, thus hinting at the sinister side of imaginary unifications. Unity is an imaginary quality valuable to imperial governments and to processes of colonization. And yet processes of conquest, annexation, and
